Barry Jenkins’s latest piece of cinematic fantasia begins in sensual fashion, but considering the sensibilities at play, that’s to be expected. We sweep and glide and spy on two young, black lovers strolling through a city park, approaching ever closer without knowing it until the camera is right up alongside them.
“You ready for this?” Alonso asks, to which Tish replies she’s never been more ready for anything.
Perhaps it’s because of modern, continuously evolving ruminations of love and relationships that we’re tempted to overthink what exactly “this” is. Is it marriage, a child or another otherwise drastic change to come that will test the couple? Is he going off to war? Is she leaving town, him unable to follow? Are they somehow aware of what’s to come—that Alonso, or “Fonny” as he’s called, will soon be arrested for an alleged rape he denies he committed? Continue reading →